Unfortunately, Jude doesn't have a memorable story to tell us about a girl, and the Asian conflict will be reduced to window-dressing. Across the Universe delivers only on the promise of clever musical numbers set to Beatles songs. If that's enough to sustain you through more than two hours, then the movie is for you. Otherwise, you may find it bad-trip wearying.

Musically and visually, this is a spectacle, which would and likely will play well on stage. We've grown accustomed to shallow, sensation-high stage musicals that provide visceral thrills and moving music. Close cousins to the live concert, they don’t need to accomplish anything more.

Movies are different. Without the live connection to sustain us, we look for things such as developed characters or an interesting plot. You won't find either here. The film lurches from one incident to the next, so that the characters can sing another song and director Julie Taymor can conceal the lack of depth with dazzling visuals.

The performers, I grant, do a decent job with the material. Evan Rachel Wood, hitherto remembered as the lost little girl from Thirteen, emerges in the role of Lucy as a strong actor with an affecting voice. Dana Fuchs's sexy Sadie comes the closest to an actual character, while Jim Sturgess's Jude channels some of the Fab Four's considerable charm and energy. The musical arrangements, meanwhile, do justice to the Beatles' catalogue, while numerous guest appearances and fannish in-jokes decorate the proceedings.

Each new development, however, merely leads to another song which then leads nowhere, man. Plots meander like a restless wind inside a letter box; they stumble blindly as they make their way across the Beatles’ verse.

If you laughed at that last line, you might enjoy this film. If you're groaning, but thinking it was sort of clever, you might like the things I liked. If you want to tear your eyes out for having read it, you probably won't enjoy Across the Universe.

None of this amounts to anything. Nothing matters in this film. The characters are never developed and so their choices mean nothing. This need not be a problem in a musical, but Across the Universe maintains a pretense of gravity.

Two characters die, one in a war and the other, a race riot. Their deaths (accompanied by a powerful rendition of "Let it Be") motivate other characters, but we learn nothing about the dearly departed nor discover the real impact their deaths have had on the living. Significant generational conflicts emerge—and then never get addressed again. Maxwell goes off to the 'Nam. We get a scary, trippy musical number about his fears and a brief glimpse of the war, but nothing that really suggests what that experience meant for him. A strong hospital sequence alludes to substance abuse among veterans-- and then the movie forgets about it. Dear Prudence wanders in and out of the film without apparent motive. She's both gay and Asian-American in a culture that had more than its share of prejudices, but her ancestry exists so the film can have its token and her lesbianism is so underplayed that one could easily miss it. In 2008, these things might not matter as much. In a film that includes Martin Luther King's assassination and concludes a year before the Stonewall Riots, shortchanging them seems shoddy.

The gratuitous, thoughtless use of serious subject matter is the hallmark of an inferior storyteller, one who gestures to important topics in the hopes that this will make the story seem deep, but fears exploring them. This approach is also offensive to those whose lives are actually touched by these issues.

Across the Universe proves a far better film than the last Beatles-based movie musical, but since that was 1978's Sergeant Pepper’s Lonely Hearts Club Band with Peter Frampton and the Bee Gees, the bar on this one sits pretty low. We have a bright, shiny spectacle that espouses radical politics but lacks depth. Its excesses become, at times, self-parody, but we can forgive much because the music entertains, and the experience looks beautiful. The cynical might argue this makes Across the Universe the perfect tribute to the High Sixties.

I was only a child then, but I'd like to think the era deserves a little better.

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The Beatles are huge. They're so huge that you see their influence and popularity all over the place, even though half of them are dead and they've been broken up for more than forty years. But if you just watched movies all the time, you could be forgiven for not knowing about them: original recordings of their songs cost so much to license that they're almost never present in movies. That's why it was such a shock in 2007, when Julie Taymor directed a jukebox musicalromance featuring covers of songs by the Beatles. Almost a quarter of the $45 000 000 budget was spent licensing just the compositions of the songs (no original recordings). It was an impressively ambitious undertaking -- but was the expense worth it?

Across the Universe seems to be a divisive film. It's almost got a perfect 50% on Rotten Tomatoes, indicating that about half of the film critics' reviews collected there were positive, the other half negative. I really can't blame them; Across the Universe is a movie with some really great elements, and some really bad elements. The deciding factors, I suppose, are what elements stand out more in your mind, and how much you like the Beatles. The Beatles, of course, being the whole gimmick the film hinges itself upon. The film is a musical featuring thirty-one covers of classic Beatles songs, and there's no denying that, had this not been the case, it wouldn't have been anywhere close to being such a big deal.

Obviously none of the Beatles songs in the film were written with this plot in mind, so it's all working backwards from lyrics written almost fifty years ago. With that in mind, I think it does an incredibly good job. Yeah, it doesn't always make a lot of sense, but that's more the writing than anything. The actual plot does make sense, it just sort of gets lost under all the music. Watch the movie a second time if you don't understand it the first; trust me, there are going to be things you missed. There are only a few songs that really seem forced, I think. Most of the music is incorporated very well into the story, and the fact that it's often only tangentially related to the movie kind of makes thematic sense -- this is, after all, a trippy movie about the sixties.

Cinematography is gorgeous overall. The dance numbers all seem very well choreographed to me, not that I know anything about dancing. The singing is very good, doing admirable justice to the original songs while still changing them enough to befit different voices (women, most obviously). Special mention goes to Sturgess's hair, which beats Mia Wasikowska's Alice in Wonderland style for the My Favourite Hair award. (Seriously, I'm drooling on my keyboard over here.)

Here's a little rundown of the songs, since they're so important:

Girl: Strong choice to open the movie on. It functions like the chorus in a classic play, summarizing some of the key plot points of the movie. Very effective.

Hold Me Tight: This is just used to introduce Lucy early, before she's met Jude in-story. For some reason the soundtrackdisc excludes the bass that's in the movie, which makes the song a lot more like the original -- and thus, a lot less interesting. If you're going to cover a song, make it different, otherwise why cover it at all?

I Want to Hold Your Hand: Sung by a woman despite the "I want to be your man" line, which gets turned into a joke about heteronormative relationship values being applied to homosexual relationships. (I might be reading too much into that.) It's not especially important to the movie, but it's still a pretty decent musical number.

With a Little Help From My Friends: Kind of a lame cover, but used quite well in the film to show Jude and Max bonding. Drugs are absent from the movie until this song, when they suddenly appear two seconds before the relevant line in the song -- am I only one who finds that hilarious?

It Won't Be Long: Lucy's equivalent to Jude's All My Loving, but with less blatant lies. Fairly bland.

I've Just Seen a Face: I like this cover way more than the original Beatles song, which had sort of a country feel to it. I wish it were a bit longer in the movie, but oh well. It's really catchy and highlights Jim Sturgess's amazing singing talent (as if the rest of the music didn't already do that).

Let It Be: Pretty sure I'm the only person in the world who doesn't like this song. The original is boring pretentious shit and this version is no different.

Come Together: The lyrics have nothing to do with anything, but what did you expect from a song with stuff like "He got monkey finger, he shoot Coca-Cola"? The cover is pretty good and is used in the movie to introduce Jojo as a soulful musician -- for that purpose, it does a great job. I'm still waiting for someone to use this song for a sex scene, though.

Why Don't We Do It in the Road?: Used mostly as background music in a pub that Jude and Lucy go to. Nothing to really say.

If I Fell: Again, nothing to really say. It's just Lucy falling in love with Jude.

I Want You (She's So Heavy): Not an especially great cover, but used amazingly in the movie. "I want you" refers as much to lust as it does to the militaryUncle Sam posters. "She's so heavy" shows the soldiers carrying the Statue of Liberty. There has never been a less subtle anti-war message, but that's what makes it so great. Your mileage may vary on the music video; I love it, but I can see why it would be unpopular. The only complaint I have is that I wanted more of that famous guitar riff in the song.

Dear Prudence: Nothing to say again. It's a pretty good cover, but not really relevant to the plot at all.

I Am the Walrus: Sung by Bono as a shameless expy of Ken Kesey, while driving the gang across the country in his psychedelic van. Everyone is on LSD by this point (seriously), so the lyrics actually kind of make sense. Bono's character is irrelevant and just used as an excuse to show off the hippies; I would have preferred it if the movie had come with an excuse to show the Vietnam War instead, but at least this song is good.

Being for the Benefit of Mr. Kite!: Absolutely terrible cover of a song that wasn't really that great to begin with. Makes no sense whatsoever in the movie. Bad in every possible way.

Because: More irrelevant stuff from the LSD trip. This and Mr. Kite should have been cut from the movie entirely.

Something: The cover isn't nearly as good as the original, but at least we're done with the LSD trip by this point in the movie. I don't know why we need yet another song explaining how and why Jude loves Lucy, but this is the right place to put it, right before their relationship starts getting turbulent. Good musical number overall.

Oh! Darling: Sadie and Jojo play this song on-stage. It's pretty good.

Strawberry Fields Forever: I've always liked this song, but this cover is even better. This is without a doubt the best song in the whole movie. Jude sings it while designing a strawberry logo for Sadie's band, intercut with Max in the war singing with him. The strawberries are used as a metaphor for hearts and grenades, with the juice (the blood) being related to both of them. I'm not normally a big fan of the "true art is angsty" tone that it has, but it really does work here. It's hard to explain without seeing the movie, but suffice to say: this one is incredible.

Revolution: Another great song, sung during a fight scene with no trippy effects added in post -- very effective. I think Jim Sturgess could stand to sound a bit more angry, but oh well. The Chairman Mao line is just as clever as always.

While My Guitar Gently Weeps: Just used to show Jojo going solo with his music. A decent song. Not much to say.

Across the Universe: Very emotional, about on par with the original. I was expecting this to be a big song, given that the film is named after it, but it sort of just gets glanced over. It doesn't even end properly, as it gets mixed into the beginning of the next song.

Helter Skelter: Way worse than the original, and used quite badly in the film. It gets mixed into the ending of Across the Universe (the song) and just comes across as really dissonant and anticlimactic for a scene that's probably supposed to be the climax. The lyrics are used entirely as a metaphor for chaos; the actual Helter Skelter slide doesn't appear in the movie.

Happiness Is a Warm Gun: Reinterpreted really effectively to be about a character's morphine addiction. I'm not a fan of the ridiculous dancing in the movie, though.

Blackbird: The lyrics are completely irrelevant as far as I know, but it's still an emotional song that's used effectively to show someone's sadness.

Hey Jude: It takes a long time to get to Jude's song, but it's worth it. The song is exciting and uplifting after all the sad/angry songs that lead up to it. If the original still gets stuck in your head, this one will too. Icing on the cake: the lyrics make perfect sense in the film. I'm going to guess it was one of the songs the plot was specifically built around.

Don't Let Me Down: Not a lot to say. This one's mostly in the background, just to set up the last song.

All You Need Is Love: I've honestly never really understood why everyone likes this song so much. It's not bad, but it's not that special either -- the Beatles have definitely made better songs. Still, its use in this movie is pretty strong and finishes the story on a high note. Jim Sturgess injects a lot of emotion into the first few verses before the others come in, which really helps.

Across the Universe is a movie with a great context and a lot of subtext, but very little actual text. It's an emotional film that can make you feel something if you let it. It's just not the kind of movie you can really quote to your friends. I recall the first time I saw the trailer for Across the Universe in theatres, my friend Robin yelled "What the fuck?" across the room. That about sums it up.

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Across the Universe is a pop science fiction novel. It is well-written and fast-paced, and is a fairly light read, insofar as that label can be applied to a 400-page novel.

The novel starts in the not-too-distant future, as the Earth is going through yet another financial crisis and the nations of Earth are forced into a world government. As a sign of international cooperation and a recognition that life on Earth is pretty crappy, the new federation is building a generation ship that is to head out to "Centauri-Earth", a planet that they are nearly certain is habitable. Amy's parents have been selected for their potentially useful skills in settling the new planet, so their family will be travelling in suspended animation, only to be woken up once the ship arrives.

Except that Amy is woken up early. No one is sure who did it, but it certainly is an inconvenient time for her to be woken up. The ship is still 50 years out from arrival, and Amy cannot be safely refrozen -- nor are the powers that be willing to defrost her parents before shipfall. Moreover, the ship is undergoing a minor political crisis, as the boy who has been raised to be leader, Elder, and the man training him, Eldest, are having a bit of a falling out. Amy is shunted off to the mental ward of the ship's hospital and told to stay put.

Meanwhile, Elder is starting to learn that there are a number of interesting (and perhaps dark) secrets regarding the ship that Eldest has kept hidden from him. Elder is only 16, so his reaction to this is fairly angsty and ineffective, but even so he manages to find a surprising number of clues that things are not as they seem. It helps, of course, that part of Eldest's job is to tell Elder these secrets, but the more he learns the further the rabbit hole seems to go. Meanwhile, after centuries of shipboard inbreeding, red-haired, pale-skinned Amy sticks out like a sore thumb on the monoethnic ship, and naturally Elder is smitten with her.

And then another cryogenic chamber is opened, and this one is not discovered in time to save its occupant. And then another. Amy and Elder, with the help of some eccentric characters from the hospital, have to find out who is doing this and why, before Amy's parents are killed.

This is a well-written book, and it is hard to put down. Very short chapters which alternate between Amy's and Elder's viewpoints give it a very fast pace, and the twists aren't quite predictable enough to be boring. However, it is fairly soft as far as the science fiction aspects go, with some very iffy science quickly glossed over. It is also somewhat formulaic, especially in the characters' interpersonal relationships, reading pretty much like all of the other popular mystery/SF/thrillers that come along periodically. This is not necessarily a bad thing, as these books are popular for a reason, but I would consider this more of a good beach book than a work of good, inventive science fiction.